Boghuma Kabisen Titanji was just 8 years old when the hyper-contagious virus swept through her classroom. Days later, she started to feel feverish, and developed a sparse, rosy rash. Three years after being fully dosed with the measles vaccine, one of the most durably effective immunizations in our roster, Titanji fell ill with the very pathogen her shots were designed to prevent.

Her parents rushed her to a pediatrician, worried that her first inoculations had failed to take. But the doctor allayed their fears: “It happens. She’ll be fine.” And she was. Her fever and rash cleared up in just a couple of days; she never sickened anyone else in her family. It was, says Titanji, now an infectious-disease physician and a researcher at Emory University, a textbook case of “modified” measles, a rare post-vaccination illness so mild and unthreatening that it doesn’t even deserve the full measles name.

When Dear Evan Hansen premiered on Broadway in 2016, it drew near-universal praise from New York’s theater critics. Ben Platt, playing an anxious teenager who becomes an internet celebrity after misrepresenting his role in a local tragedy, was showered with plaudits, and the show ended up winning six Tony Awards—the most of the season—including Best Musical and a leading-actor trophy for Platt. A film version was thus hardly a surprise. But when the director Stephen Chbosky’s extremely faithful adaptation premiered as the opening-night movie of this year’s Toronto International Film Festival—the movie will be released in theaters this Friday—the reviews that followed were … broadly bad.

What changed? It wasn’t the story or the songs. Dear Evan Hansen the film is written by Steven Levenson, who wrote the narrative of the Broadway show, and largely retains the score, by Benj Pasek and Justin Paul (a few of the least compelling numbers have been cut; others have been added). And while the cast around Platt is mostly filled out by movie stars rather than Broadway veterans, the performances from actors such as Amy Adams, Julianne Moore, Kaitlyn Dever, and Amandla Stenberg are uniformly solid. Did something get lost in translation, or is this an emperor’s-new-clothes moment revealing that Dear Evan Hansen never was any good in the first place?

Updated at 9:28 a.m. on September 21, 2021.

For nearly two years now, Americans have lived with SARS-CoV-2. We know it better than we once did. We know that it can set off both acute and chronic illness, that it spreads best indoors, that masks help block it, that our vaccines are powerful against it. We know that we can live with it—that we’re going to have to live with it—but that it can and will exact a heavy toll.

Still, this virus has the capacity to surprise us, especially if we’re not paying attention. It is changing all the time, a tweak to the genetic code here and there; sometimes, those tweaks add up to new danger. In a matter of weeks, the Delta variant upended the relative peace of America’s early summer and ushered in a new set of calculations about risk, masking, and testing. The pandemic’s endgame shifted.

For decades, when Liz Cutler’s husband, Tom Kreutz, did something that bothered her, Cutler would sometimes pull out a scrap of paper from the back of her desk drawer. On it she would scribble down her grievances: maybe Kreutz had stayed late at work without giving her a heads-up, or maybe he’d allowed their kids to do something she considered risky. The list was Cutler’s way of honoring a promise she and her husband had made. They would talk about their frustrations only in scheduled meetings—which they held once a year for a time, and later, every three months. It’s a system they’ve adhered to for more than 40 years.  

Any psychologist will tell you that conflict is both an inevitable and a vital part of a close relationship. The challenge—which can make the difference between a lasting, satisfying partnership and one that combusts—is figuring out how to manage conflict constructively.

At this point, the maddeningly unpredictable Delta variant has changed the expected course of the coronavirus pandemic so much that it can be hard to know exactly what you’re waiting for, or if you should continue waiting at all. Is something like before-times normalcy still coming, or will Americans have to negotiate a permanently changed reality? Will we recognize that new normal when it gets here, or will it be clear only in hindsight? And how long will it be before you can buy a new couch and have it delivered in a timely manner?

Somehow, that third question is currently just as existential as the first two. Everyday life in the United States is acutely dependent on the perpetual motion of the supply chain, in which food and medicine and furniture and clothing all compete for many of the same logistical resources. As everyone has been forced to learn in the past year and a half, when the works get gummed up—when a finite supply of packaging can’t keep up with demand, when there aren’t enough longshoremen or truck drivers or postal workers, when a container ship gets wedged sideways in one of the world’s busiest shipping lanes—the effects ripple outward for weeks or months, emptying shelves and raising prices in ways that can seem random. All of a sudden, you can’t buy kettlebells or canned seltzer.

When the camera turned to Michaela Coel after she won an Emmy for limited-series writing, she looked overwhelmed. The creator, star, writer, and co-director of I May Destroy You kept her head down, her shoulders slouched. Next to her, Coel’s former co-star Cynthia Erivo whispered something into her ear—a pep talk, maybe. But for a few seconds, Coel remained still, as if the weight of her first, historic Emmy win might keep her from going onstage.

Luckily, it didn’t. Coel gave one of the night’s shortest speeches, and perhaps its most revealing. In her remarks, Coel did something unusual: She thought about her audience, tried to reach beyond the other entertainers seated in the room with her. “Write the tale that scares you, that makes you feel uncertain, that isn’t comfortable,” she said. “I dare you … Visibility these days seems to somehow equate to success. Do not be afraid to disappear—from it, from us—for a while, and see what comes to you in the silence.” She spoke directly to the potential storytellers hoping to one day be onstage. And she didn’t just advise them; in a night of pomp and circumstance, she reminded them of the value of quieter triumphs.

As the Age of Delta scrambles back-to-office timelines, I find myself wondering what offices are good for in the first place.

I am pro-office. I miss a good eavesdropping, the promise of midday gossip, the “quick random question” that blooms into a half-hour conversation, and, theoretically, the magical combustion of creativity forged by these connections.

These things aren’t what I’m directly paid to do when I’m in the office, and they’re not what I’m annually evaluated for doing. Instead, they’re what I think of as “soft work.” “Hard work,” for me, is reading, researching, calling people, transcribing conversations, and writing articles. For others, it might include managing employees, working in Excel or PowerPoint, or reading and writing a zillion emails. (This kind of hard work, I should note, doesn’t have to be physically difficult.) If the past year and a half has taught us anything, it’s that white-collar workers can do hard work from home just about as well as they can do it in the office—and maybe even better, precisely because their colleagues aren’t interrupting them.

America has too many managers.

In a 2016 Harvard Business Review analysis, two writers calculated the annual cost of excess corporate bureaucracy as about $3 trillion, with an average of one manager per every 4.7 workers. Their story mentioned several case studies—a successful GE plant with 300 technicians and a single supervisor, a Swedish bank with 12,000 workers and three levels of hierarchy—that showed that reducing the number of managers usually led to more productivity and profit. And yet, at the time of the story, 17.6 percent of the U.S. workforce (and 30 percent of the workforce’s compensation) was made up of managers and administrators—an alarming statistic that shows how bloated America’s management ranks had become.

For the millions of adults who grew up watching him on public television, Fred Rogers represents the most important human values: respect, compassion, kindness, integrity, humility. On Mister Rogers’ Neighborhood, the show that he created 50 years ago and starred in, he was the epitome of simple, natural ease.

But as I write in my forthcoming book, The Good Neighbor: The Life and Work of Fred Rogers, Rogers’s placidity belied the intense care he took in shaping each episode of his program. He insisted that every word, whether spoken by a person or a puppet, be scrutinized closely, because he knew that children—the preschool-age boys and girls who made up the core of his audience—tend to hear things literally.

Apologies to Morticia and Gomez Addams, but a kiss to the upper arm wasn’t sexy until Jessica Chastain and Oscar Isaac did it on the red carpet at the Venice Film Festival. A slow-motion clip of the moment, amplified by Isaac’s singular smolder, went viral earlier this month. More than 11 million Twitter users basked in the pair’s, let’s face it, pure hotness—and then presumably had to fan themselves afterward.

I wish I had words for this but I really do not pic.twitter.com/xJVzOJJCeh

— Christina Newland (@christinalefou) September 4, 2021

HBO’s Scenes From a Marriage, the show the actors were in Venice to promote, is nowhere near this romantic—or engrossing. The drama is a remake of Ingmar Bergman’s 1973 Swedish miniseries about a relationship’s decade-long dissolution, a crisis so intense that it made Marriage Story look like Love Actually. But the new version, which takes place in present-day America, with the roles gender-flipped, has none of that force, largely because of one creative miscalculation: At the top of every chapter, the show goes out of its way to remind viewers that what they’re watching isn’t real.